I read about this eye-opening exhibit on Hyperallergic, one of my favorite art sites, and realize there’s still time to see the NY exhibit. A standout for me is Kazuko Miyamoto’s “Star Piece” (above, 1979)…”a five-pointed star, nine feet in either direction, composed of tightly coiled brown industrial paper, lying on the floor like a spread-eagled body. I immediately, and inexplicably, thought of the death of Ana Mendieta, who, six years after the sculpture was made, fell from the 34th-floor window of her Mercer Street apartment, a half-mile away — a tragedy for which Mendieta’s husband, Carl Andre, was tried and acquitted.”
Zürcher Gallery, 33 Bleecker Street, Bowery, Manhattan through January 15, 2017
Claudia Olds Goldie’s figurative ceramic work investigates the complex contradictions of body, mind, and perception, examining how living and aging change the psyche and the physical body. Focusing on the lives and bodies of women, she examines nature’s design and the forces that inevitably alter it.
Jan. 1 – Feb. 5 Boston Sculptors Gallery
Maynard’s Fine Arts Theatre recently hosted a short run of the documentary “Eva Hesse” by Marcie Begleiter, a work as humane and complex as the sculptor herself. Hesse’s childhood and relationships with other artists, including Sol LeWitt, are touchingly brought into focus. Her enormous creative energy and prescient intellect will be new to many viewers, but it’s Hesse’s work that takes center stage. Haunting, gorgeous, personal, and raw, it has inspired two generations of sculptors since Hesse’s death and will influence many more. An appraisal of her oeuvre that is overdue and welcome, this is a must-see.
Sculptor Freedom Baird‘s decision to decorate trees was not undertaken lightly—but even as decoration, her sculpture illuminates the growth and life of trees. Blue on one side and mirrored on the other, her work does not blend but rather reflects, contrasts and compliments the growth of branches (above).
Pictured is her new piece at ArtSpace Maynard in Maynard, Massachusetts. Up through October 15th.
Free Public Lecture with Visiting Artist
Saturday, April 23, 2016
Location: Harvard Ed Portal, 224 Western Ave, Allston, MA 02134
Free and open to the public.
Join us for an evening lecture with internationally acclaimed sculptor Cristina Córdova. Córdova, who was recently named a 2015 United States Artists Fellow through the American Craft Council, will lead us into a deeper technical and intuitive understanding of achieving the human form in clay.
Seats are limited – RSVP for the lecture to Kathy King at email@example.com.
Harriet Hosmer, the 19th century’s premier American female sculptor, created many popular pieces, but everyone’s favorite was “Puck,” shown here at the Addison Gallery of American Art. Carved in flawless white marble by the artisans in Hosmer’s Rome Studio, Puck seems sedate by today’s standards, but he was a naughty Victorian indeed. His fetching wings are a bat’s, he sits on a group of poison toadstools, his chubby right fist grasps a beetle (to pelt an unsuspecting dryad?), and his upraised big toe can be seen as—what?
Puck—or “my son,” as Hosmer called him—was an instant success with the aristocracy, including Albert Edward, the Prince of Wales and the crown princess of Germany, who, upon seeing the work, remarked, “Oh, Miss Hosmer, you have such talent for toes!”
Laurie Simmons has a retrospective at Andover’s Addison Gallery this month. Her early dollhouse photographs comprise “In And Around the House,” which blends seamlessly with a companion show, the beautifully curated “Walls and Beams, Roofs and Dreams: Images of Home.” What would the terminally isolated dolls of her iconic 1970s work do in the colorful Kaleidoscope house (above) Simmons designed in 2001 with Peter Wheelwright? Through April 17.
Susan Alport’s “Juxtaposed” is in its final week at Boston’s Kingston Gallery (450 Harrison / Thayer Street in SOWA). Alport’s installation combines her own photographs, found artifacts, and the remnants of her extensive reading in a way that invites viewers to create their own meaning. Followers of her work will recognize recurring symbols—for example, the white gloves used to handle objects in a museum’s collection and a Brownie camera—which offer delicate, unspoken invitations.